Alma develops a choreographic score for voice and movement. Hendrik makes a perspective drawing. We both make music on electronic instruments. The final result is a concert-performance and a drawing, which are created live in front of the audience.

We are interested in the direction that the process takes while we are exploring the tension between sticking to our methods and combining them. We’ve decided to take six months for producing the skill that will allow us to perform IDIOTER. This amount of time gives space to changes emanating from the soft pressures of working, reworking, repeating the material, rather than out of speculating, jumping on quick solutions and ending up in known dramaturgical patterns.

On the one hand, IDIOTER consists of Hendrik’s drawing routine. He draws geometrical landscapes disappearing in a single vanishing point. He draws this drawing over and over again, thus expanding the landscape to a theme; again and again the viewer finds him- or herself in The Same Empty Street.

On the other hand IDIOTER consists of Alma’s practice of making scores for voice and movement; playing with syllables, intonations, cadenzas, gestures; a dream language, a game of intensity and rhythm. She will develop this choreographic score focusing on Flow. The Flow will be cut, there will be Breaks, the Flow will continue. The viewer gets sucked in to The Rhythm.

With all of that said, there will be music. The performance IDIOTER is a concert. We will develop a musical composition in joint sessions that we will immerse in over and over again, noting where we are with our music and where we are going. The music will be concretely linked to the drawing and the choreographic score; it will absorb all the elements of the work.

Finally, let’s talk about IDIOTER, the title of this work. The title was chosen out of an esthetical appreciation of the word; the two I’s, the similarity between the D and the O, the similarity between the T and the I, the tail of the Swedish inclination of idiot in plural; ER. The word is both appealing and disturbing, alas we chose it. As the word has a strong meaning, it penetrated our ideas on the work soon after we had chosen it. It transformed our perception of what working, or rehearsing, could be like. It could be a stubborn process, characterized by seemingly meaningless repetition, insisting on one simple form, trying to discover the world and its dynamics in the details that our hands, bodies and minds will create day after day in the studio. In IDIOTER we are formally insisting on something that we are not yet able to name. The title of the work supports us in this process.